expressions of self-sovereignty in our communities, and how these expressions might carry into the future. the artist reflects on the sense of freedom that is part of riding. This work shows two bikers in mid-air, as if heterosexual people within the US military in recent history. The photograph prompted Sherald to think of the In this case the man, a friend of Sherald’s, is hoping to buy the land he has rented all his life. “It’s something that he really wants to give his children,” she said. “Stories disappear as the land disappears. The process, the ways the seeds were planted and why, what animals were grazed on the land—all that stuff is familial history as well as agricultural history.” Next up is academic Kevin Quashie (‘I quote his work often’, Sherald says later, crediting him as the inspiration for her greyscale skintones), who describes, in terms at once more personal and more abstract, the operations of desire, ideology and the aesthetic of what he calls ‘mere beauty’ in the artist’s work. Coates goes in for a more personal look at the artist in an inter-view that eventually, but too slowly, becomes a conversation. It’s biography that is the key to Sherald’s work here. We learn about Sherald’s heart transplant, the role of faith in her life and how important the experience of painting a portrait of Michelle Obama in 2017 was to her career and her sense of being a public figure afterwards. Collectively it’s a little confused. But the illustrations are great.

painting, Sherald also seeks to honour the legacy of farming in a world where new technologies are favoured. I’ve had conversations with other artists who feel as if their work has to create teaching moments about history and our struggle. But I wonder, when do we breathe? There has to be room for a range of experiences, because if there isn’t, how do we evolve?’—Amy Sherald, 2021 [1] as motorbikes and tractors and the peaceful juxtaposition of man and machine to engage with the currents Amy Sherald, Contemporary Art Museum St. Louis, Missouri, and Crystal Bridges Museum of American Art, Arkansas (2018); Amy Sherald, moniquemeloche LES, New York (2017); Off The Chain: American Art Unfettered, Second Street Gallery, Charlottesville, Virginia (2015). Amy Sherald Group Exhibitions include:

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Sherald’s father died of Parkinson’s disease when she was 28. Her brother died from lung cancer at 36. She has navigated her own serious health problems, receiving a heart transplant at 39. “I just really understand that life is short and that waking up today [is] the best thing that could ever happen,” she says.

The exhibition is accompanied by a new catalog published by the gallery, which includes an analysis of Sherald’s work by Jenni Sorkin, along with an essay by Kevin Quashie and a conversation between Sherald and author Ta-Nehisi Coates. The World We Make is on view at Hauser & Wirth Monaco until April 15.Thomas J Price (born 1981) is a British artist who works across disciplines, predominantly in sculpture, but also in film and photography. Conceptually focused, Price engages with issues of power, representation, interpretation and perception both in society and in art. Create a portrait of a close friend or family member using mediums such as photography, painting or drawing. What attitudes do you think are expressed through your portrait? What were you trying to capture when you created the portrait? Does the portrait reflect the complexities of the individual’s personality and identity? How so?

Hearthland Foundation. This donation will allow the trust to run this scholarship programme indefinitely. Newly commissioned texts include an art historical analysis by Jenni Sorkin, a mediation on the aesthetics and politics of Sherald’s portraiture by Kevin Quashie, and a conversation between the artist and Ta-Nehisi Coates. the rejection of queer rights to equal participation in public space, as Sherald replaces the white heterosexual body of work, she continues this practice while confronting the Western canon through allusions to significant

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The title of the show itself is a form of healing for the artist, who understands that “as we walk beyond what we have been living through, we have a world to remake,” according to Sherald. An example of this is her painting, For love, and for country (2022), which references Alfred Eisenstaedt’s iconic photograph, V-J Day in Times Square (1945), which prominently shows a US Navy sailor kissing a woman in New York City as Imperial Japan surrendered in the Second World War. “The works reflect a desire to record life as I see it and as I feel it. My eyes search for people who are and who have the kind of light that provides the present and the future with hope,” said Sherald in a statement.